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First Books - Matt Silady's The Homeless Channel |
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Written by Caleb Monroe
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Tuesday, 22 May 2007 |
This week I interview Matt Silady, the writer/artist whose first graphic novel, The Homeless Channel, hits stands tomorrow from AiT/Planet Lar:
What was the first comic you ever read?
I think it's actually right over on my bookshelf. Hold on, let me go and get it...
...okay. Here we go:
Excalibur: The Sword is Drawn by Chris Claremont and Alan Davis.
You know what's so funny about flipping through this now is thinking about all the screaming and yelling people do about how kids aren't getting into comics because of the convoluted continuity. Give kids some credit. I had no idea what was going on the first time I read this. All I knew was I liked it and wanted more. Heck, now they've got this fancy Internet machine and they can use "the Google" to find out everything they need to know about the characters and the story. Back in my day, I had to buy overpriced back issues and walk to school uphill both ways in the snow carrying eighty pounds of textbooks and a rusty, metal Secret of NIMH lunchbox.
Actually, I didn't read this comic book until high school. So, maybe ignore that last bit about the lunchbox.
When did you first realize you wanted to make comics, and what was your first project?
Oh, I knew it in my gut that I wanted to make comics right away. It just took awhile to for me to believe that I was capable of actually making them myself. I can remember doing some humor strips when I was bored in trigonometry class back in high school. And I attempted a short autobiographical piece for the Expo anthology a couple years ago that never saw the light of day. But, for what it's worth, The Homeless Channel is my first proper book. Shortly after moving to California, it occurred to me that I might finally be ready to pull this off.
Who are your influences?
Outside of comics, I've been reading a lot of Aaron Sorkin scripts and I highly recommend Mamet's Three Uses of the Knife. In terms of comic books though, Bendis' work on Jinx convinced me I could do my own illustrations. James Robinson's Starman always reminds me how badly I do want to write a superhero someday. And I get a kick out of the way Warren Ellis pushes and pulls at the page until it starts to bleed.
For anyone who's seen my art, it's probably no surprise that I've taken a good long look at guys like Tony Harris, Alex Maleev, and Michael Gaydos. But there are artists who I just can't get enough of like Paul Pope and Adrian Tomine that have distinctive styles that I'm learning from too.
When I'm stuck on a page layout or how to stage a scene, I reach for books by David Lapham or Terry Moore or even Goseki Kojima (it's important, from time to time, to be reminded that seven consecutive pages of quiet scenery can be a very, very good thing.)
Brian Wood's urban landscapes blow my mind. And Becky Cloonan is so fast and so good- it's scary.
My copy of Ariel Schrag's Potential is falling apart, I've read it so many times. I'm a very proud owner of four pages of Steve Lieber's art from Whiteout which I've poured over for hours on end.
I think Scott Mills deserves some special award for continuing to show that great comic books can be about ANYTHING.
And pound for pound, I think Eddie Campbell is the best artist working today.
The Homeless Channel began as a series of mini-comics, right? What was the journey like from mini-comics to graphic novel?
It's been rewarding. I don't regret self-publishing for a second.
Probably the most difficult moments came when the first reviews for the original minis started to come in. Most of them were very positive. But some of them just didn't get what I was going for and I couldn't blame them. The story was always meant to be read all at one time and not serialized with long gaps between issues. There just wasn't any way I could afford printing a big book like that right off the bat. That's why I'm so excited about the AiT collection that's coming out. Not only does it offer the reader the opportunity to experience the story the way I always intended it to be read, but it's also being put out by a company that values the spirit of self-publishers. Larry and Mimi have really valued my input concerning the final product and they've made it a priority to help me tell the story the way I've always wanted it told.
Can you describe your creative process, from first idea to completed pages? As a writer/artist, at what stage do you work out plot? Pacing? Dialogue?
Let's see... here's the basic rundown:
1) Find the dramatic beats. This is where I see if I've got enough for a story or if it's still just an idea and needs more time in the incubator. Basically, it looks like a shopping list of scenes and key plot points.
2) Thumbnails. Each scene is then knocked out in little stick-figure thumbnails. This is where pacing really comes into play. I construct page layouts in this step and start jotting down key pieces of dialogue relating to plot.
3) Casting and photo shoots. I have to track down actors and models at this point. Most of the time, I shoot the actors separate from the backgrounds. Although location shoots can be kinda fun. This step is actually pretty time consuming. But it's also where the story really starts to come alive.
4) Photoshop layouts. My "pencils" are all done in Photoshop. I manipulate the photos and match actors up with backgrounds. These layouts are then blown up and printed in light cyan on 11 x 17 heavy stock paper.
5) Inks. I ink over the printouts to give them a more "hand drawn" feel. I use a brush and acrylic india ink. This is actually one of my favorite parts of the process. I find it very relaxing.
6) Script and dialogue. After scanning the inked pages back in, I drop the files into Illustrator and letter them up! I save the final scripting until this step. It seems whenever I script too tightly before I shoot the photos and finish the art, I end up changing all the dialogue anyway.
On average, where would you say most of your time on any given project is spent? Research? Plotting? Scripting? Artwork? Promotion?
By far, the artwork takes the longest. The final scripting is pretty time consuming too because I'm lettering at the same time. The real surprise is how long promotion can take. It can really turn into a black hole. What you have to remember is that there is a certain point where your time and energy is achieving diminishing returns. I try to dedicate certain days to online promotion and to turn off the Internet as much as possible on the days when I'm just working on the book. Of course, with the book coming out tomorrow, it's almost all promotion all the time at the moment. It's fun though. I get to talk about comics like this all day long!
How do you as a creator go about promoting your own work?
I certainly rely on the Internet. Lots of interviews at websites, blogs, and message boards. I've posted chapter previews at my own website and over at ComicSpace. I started a "I bought The Homeless Channel" Facebook group and I post bulletins over at MySpace. I've been working with retailers through the CBIA forum. At first, I only attended the Alternative Press Expo in San Francisco. But now I'm doing shows in Chicago, Bethesda, Portland, and, of course, San Diego. A couple weeks ago a reporter from the Contra Costa Times came over to the house and interviewed me in my studio while a photographer snapped pictures the whole time. That was kinda weird. But it's nice now that the book is picking up some momentum. Promotional opportunities are actually starting to come my way.
Oh, and I made a movie-style trailer for the book that's hosted over at Google Video that's brought us a whole bunch of good publicity.
Do you have "office hours," so to speak: specific set times during the day or week when you work, or is it a more fluid situation? Have your years as a writer taught you any secrets to budgeting comic-creating time?
Right now, it's a combination of the two. I'm keeping fluid office hours. Honestly, I have a great incentive to keep a 9 to 5 schedule: hanging out with my fiancée. I want to be done with my workday by the time she walks in the door around dinnertime. There are cases when I have to work at night too. But that usually corresponds to extra errands that I might have run during the day or extra chores that came up. We have a very nice symbiotic relationship right now. She's been 100% supportive of my attempts to make a career of this.
As far as learning how to set hours for myself and how to stay focused during the day, it was actually my time teaching in the public schools that did the trick for me. Each summer, I had two months at my disposal and I ended up writing a novel each summer for a couple years. That's when I realized how much could be accomplished in a day with the help of a little bit of discipline.
What advice would you share with other creators about finding a balance between comics and other aspects of life, like family or friends?
You know, that's one of the very themes I've been exploring in my work. I'd suggest finding the balance that makes you happy, but there are different types of happiness. Personally, I just try and find the balance that leaves me proud of myself at the end of the day. If I've knocked out three pages of art, but my only human interaction consisted of listening to Sports Center play in the background seven times in a row - I know I won't really feel all that satisfied when my head hits my pillow that night. It's good to set boundaries, force yourself to step away from the computer, and go on some nice long walks.
It's been said that to make comics a career you have to sell more than just your story: you have to sell yourself. Do you agree, and do you have any insight to share on how to go about such a thing?
I think rather than sell yourself, you need to be yourself. Sure, on one hand, I'm here promoting my upcoming book by doing this interview. And that creates a greater online presence for myself and my work. But I really believe that I can do that without betraying who I am and what's important to me. When I go to a convention and meet fans of my work, I'm genuinely thrilled. And when I'm putting my book in someone's hand for the first time, I don't say, "I think you're going to really enjoy this," unless I believe it in my own heart to be true.
Now, there are things that you can do that will hurt your image as a creator and potentially turn readers away from your books. We've all seen an artist have a meltdown on a message board or be a jerk to someone waiting in line for a sketch.
As far as selling yourself, though, if you are enthusiastic and love what you are doing, I believe it will show in your work and in your interactions with readers and members of the industry. Don't spend too much time calculating how to create your image. Chances are you've already got everything that you will ever need.
What would you say is the #1 mistake you see aspiring creators making?
Well, it would probably be the same mistake that I made initially: underselling myself. Even when I was proud of what I was doing, I'd still act like it was no big deal or that I wasn't a "real" comic book creator. Now, PLEASE don't take that to mean that I think walking around with a big ego is a good thing in any way whatsoever. But somewhere between "I suck" and "I'm the best ever" is a place where it seems a healthy attitude can exist.
I think attempting to maintain a humble confidence is the way to go.
What's the best advice you could give someone looking to break into the comic industry?
Don't wait around for someone to publish your work. In some circles, DIY publishing is considered "vanity press." Personally, I think anyone wanting to get their art out there has some streak of vanity in them. Besides, in the comic industry, I think it's still a badge of honor. I mean, what have you got to lose? And if you're worried about money, publish your work on the web.
Personally, I just can't see the downside of going ahead and doing it yourself. As much as I've wanted to "break into the industry," what I've really always wanted to do is make comics. And the only thing standing in the way of that is a piece of paper, a pot of ink, and a brush.
I assume you've been to your share of conventions. How can an aspiring writer make the best use of their con experience? Any secrets to successfully manning a table or booth?
Don't be shy.
Don't be obnoxious.
It's okay to be enthusiastic about your own work. And it's okay to smile! Sometimes artist alley just looks like death row, you know? People attending the shows want something good to read. Don't be ashamed of pointing them in the right direction! Just don't be an ass about it.
I found it useful to have people without any comics experience helping me at my booth. It brings a fun perspective to the day. Plus, then you get to take bathroom breaks.
Any final advice on the life or craft of writing in general?
Probably the most liberating thing I've learned as a writer is that first drafts are supposed to be terrible. Once I stopped worrying about making something perfect on the first pass, I was able to really get to work and start laying the groundwork for my stories. I know some writers who don't move from one sentence to the next until every last letter is perfect. But if I did that, I'd have half a line of dialogue to show for my last year's worth of work.
Do you have any current or upcoming projects you want to plug?
With the release of my first graphic novel just a day away, not much else is occupying my mental space right now. So, yeah - head out to your nearest comic shop or click over to Amazon or khepri.com and pick up The Homeless Channel published this month by AiT/Planet Lar. I think you'll be surprised. It's a good book at a good price and I'm proud of it from beginning to end.
Thank you, Matt
Caleb Monroe bought Peter Parker, The Spectacular Spider-Man #16 when he was 11 years old and it was all over after that. You can learn some more about him here.
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